vipa

Someone on the tech team explained the problem during the first intermission, but beforehand, after one showing of a video on the summer season, we were just shown a graphic about that season, then a notice that the broadcast had been delayed (no reason given), then a notice that it would start in 15 minutes. I think it was more like 20 or 25 minutes before Placido Domingo came on to introduce the opera, saying nothing about the delay. When the delay was announced a lot of people near me left for the concession stand or rest room. One person said to me I'll go now - Wagner wasn't made for modern day bladders! I didn't quite know what to make of that. In any event the AMC concession stand did quite well from Wagner, between the delay and the intermissions.

Today I saw the HD live broadcast of Die Walkure. I'm an opera newbie, having seen my 1st opera last Dec., and this was my 1st Wagner opera. It was awesome. The movie theatre (AMC on 42nd St.) was packed. I just want say that I'm in my 50's and am delighted to have come to another art form to enrich my life.

Agreed. I see that instead of the Cornejo/Cojocaru Sleeping Beauty pas in the opening night gala she's listed for Rose Adagio.

A little off topic. Just a comment about the $2 facility fee - I sometimes get discounted tickets at the lincoln center atrium. There is a $4 per ticket facility fee there. This really puts a dent in the discount if you are getting the cheaper tickets. I saw tickets regularly priced at $20 being offered for $15 - add the $4 fee in and the ticket is really $19. Of course now you have to factor in that at the box office the $20 ticket is really $22. Still not much of a savings. BTW I did get $55 tickets at half price at the atrium for Sat. matinee, so it was a total of $63 for 2 seats in the center of row B 4th ring. It made my day, particularly because it was such a good performance.

Thank you for the answer abatt. I too would love to see Reichlin in it.

I saw the Sat. matinee. I'd like to give some impressions starting with Square Dance. The reason I wanted to see this performance was to see Bouder in Square Dance, and she did not disappoint. No one moves as fast and clearly, etching each movement & position in space. She phrases things as only she can. I found myself smiling while watching her. Unfortunately Taylor Stanley looked floppy by comparison. He got through the man's solo. It's a difficult and unforgiving solo, so getting through is an accomplishment. His partnering wasn't great. No flubs, but he had her off her leg several times. Of course she didn't have a problem so it never looked terrible, I could just see that he had her off her leg. I have to say the the corp looked great. I was delighted by the clean, sharp and open dancing of the corps from the opening onwards. World Class. I thought Apollo had a freshness that I hadn't seen in years. Finlay, Hyltin, Peck & Scheller were the cast. They brought meaning to the piece in the way they related to each other, phrased the music and covered space. The Muses, feet parallel, doing traveling releves, covered so much space that it added the excitement that the music warranted. Finlay has the making of a great Apollo. I hope to see him have more weight in some of his movements in terms or being into the floor if you know what I mean. Also some added focus and sharpness would be nice. I look forward to future performances. I loved the section with just Peck & Scheller. They looked great together. Their variations were very well done. Peck's Polyhymnia variation has that pique turn into arabesque that often has a dancer hopping and fudging - Peck really did it - nailed it twice and a minor fix the third time. I've never seen it better. I liked Hyltin. I think she brought a sly humor to her characterization that worked for me in the pas de deux. Agon was last on the program Teresa Reichlen in the 2nd pas & Bransle Gay was just terrific - very in control and witty. I love the expansiveness of her arabesque line. Ashleyy Laracy stood out for me in Gailliard. She never holds back, so her movements look big and joyous. Wendy Whelan looked OK in the pas. I've been watching her do it for years - it's been better, but she gets the job done. Does anyone else in the company do it? I've only seen her for quite a while. I was not familiar with Daniel Applebaum, but he made an excellent showing in Agon. Ramasar is a dancer I always enjoy. He has a fluid movement quality and ease on stage that I find very attractive. All three pieces looked very well coached and rehearsed. It was a great afternoon at the ballet. I wish I could see it all again - same cast, same ballets!

I think this is a positive sign of the times. These dancers are not "kids" (a favored term for dancers by management in the old days). They are adults looking to their future. It has always been hard for dancers to stand up for themselves. Dancers want to dance and appreciate opportunities to do so, and they are aware of how short a dancer's career it. For those reasons it can be easy to just accept whatever is offered. Good for these dancers for their participation.

That is an amazing commitment. Does any know when Kevin M's contract is up for renewal?

My best guess is a little over 2 hours maybe 2 hrs. 10 or 2 hrs. 15. It's just 2 acts with one overly long intermission. I remember a time when ABT would schedule a short rep piece before Giselle.

Additional casting has been added for the rep nights of ABT Met season http://www.abt.org/calendar.aspx?startdate=5/1/2011 Looks like Reyes and Lane are alternating the female lead in Shadowplay. Lots of interesting casting in the New Wheeldon piece. The only one with no casting posted is the new Ratmansky. Not a lot of people left when you look at the casts the other ballets, particularly on the men's side.

The review was harshly critical, but I have to admit I agree. I was there last year and went to this year's Sun. matinee. My reason for going was to see the dancers. I didn't expect much of the choreography. I got just what I expected and was not disappointed - a rare chance to see Sylvie, Korbes and Orza. A chance to see Lowery, Scheller and Angle up close and, for me, a first look at Kuranaga. It was worth the price of admission to see those dancers and Kuranaga's combination of fluidity and arrow like attack was a treat to behold. I don't hold out much hope for Scher's choreography. Before the performance started, he gave a short speech in which he stated his goal was to show great dancers, in an intimate setting for affordable prices. Perhaps he should include other choreographers in his productions.

I know a lot of people would agree with you Angelica. I haven't seen Hallberg very often, and so maybe I haven't seen him in the right roles. My most distinct memory of him is in Ballo Del La Regina, in which I thought he looked uncomfortable and half a beat late at all times. That left me with the rather uncomfortable, and hopefully untrue, idea that people are so taken with is good looks, amazing feet, body and line that every flaw is overlooked or even not noticed. As I said I haven't see that much of him so I hope I become a fan. On another note - I am sorry Ethan Stiefel is out, and odds are that I won't see him perform again. He goes on my list of exceptionally honest male dancers, along with Fernando Bujones and Damien Woetzel. Can't wait for the season to begin, and to share experiences with you all.

I think at the end he said something like - Natalie Portman would be proud!

I'd like to see more Simkin & Lane too. I think they'd do a charming Coppelia I'm a little disappointed that I won't be seeing Steifel with Cojocaru in Giselle. Halberg seems a bit tall for her and he's not my favorite, but I'm still looking forward to seeing Cojocaru as well as Muphy who will be doing Myrta (if all goes according to plan!)

Hi Dirac. In this particular case, that is probably the hinge - though dancers, the public and management (of both movie and dance companies) have been sensitized to the issues via Black Swan, and there could be repercussions as to how such issues are dealt with in the future. If the principals on the motion picture side had not made such a big deal about Portman's "training" and virtuosity in this film, the controversy would probably have simmered down by now; but - hoist on their own collective petard - they've opened the door to scrutiny and contractural challenges in the future, and that would seem (to me) to be the take-away from all that has happened. Agreed. I think that the people who decided upon the Oscar campaign for Portman were not trying to insult dancers or ballet. I can't imagine that they gave any thought to dancers or ballet as an art form.

Thank you for posting this. I saw the segment on 20/20 and the GMA that was posted online. I think both times Sarah Lane presented herself in a very lovely way. Clearly her problem is with the notion that someone could become anywhere close to a professional dancer in a year or two. She is looking for respect for the art form. Later in the 20/20 interview when questioned about Natalie Portman, Lane answered that Portman was a beautiful actress who deserved the Oscar. IMO the television interviews of both Jennifer Ringer and Sarah Lane have shown the world that there are beautiful, intelligent, real women in ballet. I'm not comparing their issues, personal styles etc. Just the fact that these two lovely women give a glimpse into the real people who work as ballet dancers.

One of the most entertaining renditions I've seen.

Who knew that there was a scientific theory - black swan? My ever curious husband did! He sent this to me. http://en.wikipedia.org/wiki/Black_swan_theory Moderators - if this is a crazy thing to put here please remove.

I loved Le Comte Ory. Very much loved the staging and performances, particularly Florez and DiDonoto. This is a new art form for me. I am a former ballet dancer and long time ballet viewer so I bring a lot of opinions to ballet performances. Becoming an audience member of an art form that is not so familiar is a wonderful experience. I am very, very slowly developing likes and dislikes. I do bring years of dance, theatre and concert going as a kind of baggage, but is it fun to be novice viewer/listener to this art form. I am grateful to keep finding new avenues of enrichment.

Thank you GoCoyote - Nicely put. You gave me a different way to look at the situation. One camp trying to defend the illusion and the other trying to protect the reality of what a ballerina is. Do you think Aronofsky knew that Portman didn't/couldn't become a prima ballerina? I think probably if he had stopped to give it serious thought, but part of the hollywood deception is the super hype that people buy into. I remember reading that Lane thought they'd take care of her because everyone was very encouraging, telling her how great she was and cheering her on when she had to do difficult sequences over and over again while hitting her marks and wearing those dot things (don't know what to call them) on her. She was naive. She wasn't capable at seeing it through a "hollywood" hype lens, she was seeing it through a "ballet" lens.

I thought I read $4000 a week. Anyone know for sure? Totally agree that Lane should be given more at ABT

She had little cause to, as she got her due credit. Likewise Bambi Linn and James Mitchell for their dancing in Oklahoma that Mme Hermine posted. In Black Swan, as noted elsewhere, Sarah Lane is credited as "Lady in the Lane," but not for her dancing. I suspect that all Lane wanted was acknowledgment for her contribution to the credibility of Portman's performance. It all depends how closely one expects "those people" to follow the publicity. Casual film fans will not have been exposed to as much as, thanks to the keepers our Links forum, has been arrayed before us at BalletAlert! And it's not the "arm flapping" that impresses the ballet-naive public but the fouettes which, despite appearances, were not executed by Portman. I agree with carbro in all cases. I think the basic problem is that a lot of the pre oscar publicity stressed Portman's weight loss, hard work and progress in ballet, leaving the implication that she became the equal to a professional ballet dancer. Aronofsky could have left out the piques, fouettes etc, entirely, but he must have deemed them necessary to establish the character's credibility as a dancer. He now dismisses those scenes as few, but they must have been important or they'd be on the cutting room floor. I think what Lane and other dancers would love is some acknowledgement that Portman didn't become the equal of a professional dancer. I wish Millepied's statements would be clearer. I know he is in love and about to be a father, but if he had a ballet company would he hire Portman?

Thanks for the explanation and for getting it back up so quickly.

I'm not sure what you mean by equal in beauty. OK I am not the biggest Hallberg fan. I've seen him great in some things and not so good in others. But what do you mean by beauty? Is it face, instep, shape of the leg?

This is a hard, hard ballet. This was a cautious, cautions performance. They both seemed scared and gamely getting the job done as far as I am concerned. Yes, the smiles were there but no freedom of movement at any moment. I thought he was playing it safely and again blandly in his performance. She is way beyond corps dancer, but not a ballerina either. She'll be promoted to soloist next go round. I've seen this ballet many, many times over maybe 35 years. Lane/Cornejo are the best ABT team at this time. It is a really hard ballet and it is tempting to declare anyone who gets through a star.